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Hey, everyone.
Sinix here.

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It's time for another another
anatomy quick tips.

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Today, we'll be focusing on

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the beacon of honesty
that is the hips.

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Yes, that will include some butts,

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and some thighs, and all 
sorts of salacious curves.

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Don't get too mesmerized, though,

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hips are actually the 
most important cornerstone

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for making good poses and gestures.

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As always, if you're new 
to anatomy quicktips,

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these videos are designed to offer

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a shorthand anatomy for design 
and illustration purposes,

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more so than fine art.

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So, bare in mind, 
there will be a focus

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on simplification and stylization.

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In that spirit, every single thing 
you'll see in this video

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was done without ever
looking at reference,

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so, please, excuse any
wobbles inaccuracy.

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Alright, let's get in there
and bake some cakes.

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Starting off with structure--

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the skeletal side of things 
can seem fairly complex.

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The pelvic bones have all sorts
of movements and shapes,

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but, luckily, most of 
that is fairly hidden.

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So, we can skip to just
the important parts.

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The overall feeling can be looked 
at as something like a bowl

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that holds a bunch of your
lower internal organs.

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The large upper
sides of that bowl

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are what I might commonly 
refer to as the hip bone,

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technically, the iliac crest.

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While the connection of 
the femur into the pelvis,

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and, specifically, that part
sticking out to the side--

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the greater trochanter,

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is what I will commonly
just call the hip joint.

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So, hip bone and hip joint,

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AKA iliac crest and 
greater trochanter.

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That's all we really care 
about for our purposes,

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and, for even greater simplicity,

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we're really just going to be using

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the most forward angle 
of the iliac crest

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as our de facto hip bone.

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Moving on to muscles,

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we don't need to stress out 
over too many names,

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but we can fill in 
that gap on the side

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between our hip 
bones and hip joints

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with some tensor fasciae muscles.

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Of course, the quad muscles
are quite important;

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some connect straight to the femur,

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but the most superficial 
parts of the rectus femoris

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come all the way up to 
that front of the hip bone.

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And, don't stress out over 
these complex names,

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you don't need to know them,

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they're just for reference purposes.

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Now, on the inner thigh area,

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we have some other 
muscles and adductors

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that form a different
flow of movement

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toward the center of the pelvis.

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These can be more 
visible or less visible

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depending on angles and movements.

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Altogether, these give 
us enough substance

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to draw what we need to draw.

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On the back side of things,

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of course, we mostly have 
to worry about the butt.

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You might be aware of 
the gluteus maximus

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as the main muscle 
that makes up the butt,

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but let's not forget about the
gluteus medius at the top,

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which does swoop in and
add a lot of subtle shape

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toward the top of the butt.

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Back to the gluteus maximus,

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you can notice how
it swings outward

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towards the lateral 
muscles on the legs

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and, stretching downward
from under that muscle,

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you get the hamstrings and
some other minor muscle groups.

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We can also take note of how

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the gluteus maximus
and medius muscles

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can be flexed in order
to form a dimple shape

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on the side of the butt.

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Overall, that might feel like a lot

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of anatomical stuff 
to keep track of,

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but, luckily, I'm 
going to break down

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some very simple reductions

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that will make it all a lot easier.

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The starting point for everything

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will be the classic 
Superman underwear.

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These undies will represent

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our hip structure
in most situations.

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Practice drawing them comfortably

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from various subtle angles.

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The hip joints are
actually just going

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to be visualized 
as two floating dots,

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level with the 
bottom of our undies,

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but even further off to each side.

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Now, translating this into 
a side view can be tricky.

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If we just do a pure 
side view of the undies,

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it gives us some useful information,

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but still feels a bit lacking.

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How can we make this more useful

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and have it include the butt?

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Well, we're going to introduce 
another shape for this side view.

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Looks a bit like a stubby cannon,

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but we're going to call 
it the "tilted pot."

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The flat front side of that pot 
will represent the hip bone,

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and, of course, the 
rounded side is the butt.

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Using both the undies and 
the tilted pot together

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will give us everything
we need to build

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all sorts of good poses.

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Anyway, let's focus on just 
the front view a bit more.

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You should try to develop

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a comfortable sense 
of subtle variety

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with the pentagonal undies shape.

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You can have a set baseline that you like,

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and then try to make a slightly
more narrow one or wider one.

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Notice how the wider version tends

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to slope more outward from the top.

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That sloping can continue outward

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to get wider set hip
joint indicators as well.

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Those floating dots.

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If I add some more 
underwear shapes below this,

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we can also talk about
the variety in waistlines.

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This doesn't require you to do
anything different with the hips,

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but it's worth practicing different
sizes of waistlines as well.

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Starting from a simple one

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that is basically the 
same width as the hips,

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you can exaggerate how
the obliques are shaped

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in relationship to the hips

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by adding some quick 
inward curving lines

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that make the whole abdominal area

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feel like it's resting 
on the hip structure.

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Alternately, if we want to 
have a very slim waistline,

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we can lead from the 
hips upward and inward

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with a sloping line that connects
towards a narrower ribcage.

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For a larger gut, we can 
just allow the obliques

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to rest with a lot 
more mass and weight

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on top of those hips.

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A classic muffin-top formation.

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The big thing you 
might start realizing

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is that our underwear shape

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is not going to be 
visible in the end.

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What does that mean?

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It means we are actually 
doing something

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I almost never do
in these videos--

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construction.

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Yes, you might know I
generally hate construction.

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Why?

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Because it usually leads to less 
creative and stylized drawings.

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But, in this case, I've always
found that starting poses

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with a quick indication
of ribs and hips

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actually leads to more 
stylized and fun shapes

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that you might not try otherwise.

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This will be very important

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when we get to poses 
in a future video.

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Alright, so we can hopefully add
abdominal areas to our hips,

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but what about on the other 
side with the thighs?

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Let's do a few more quick mockups.

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We'll try to make one of
them a bit thicker,

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one a bit more muscular,

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and one a bit more neutral.

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We can even add some contour lines

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to really help express 
the forms of the thighs.

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On our thicker version,

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we're going to store a lot more 
fat deposits around the hips,

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which means less muscle definition

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and a stronger rounding
of all the shapes.

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The muscles that 
drive the inner thigh

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up towards the center of the pelvis

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are going to feel less noticeable,

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and even the quad muscles 
will take a backseat

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to the buildup of fat around 
the hip joints and upper thighs.

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Notice how small that 
little "S" curve movement gets.

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The muscular version is going
to play off the quads a lot.

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The muscle body of the quads

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is much lower on the thigh.

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And, without many fat deposits,

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this is going to make everything 
around the hip joints

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feel much more narrow and angular.

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This will lead you toward 
a much more stronger

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and noticeable "S" curve that 
goes further down the leg.

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Finally, on our 
neutral test subject,

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we can just keep the 
mass low everywhere.

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Not much muscle and not much fat.

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This just leads to less
movement on both sides

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and a very subtle and 
simplified curve in the thighs.

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Let's through in some more 
practice from the side view.

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We can start will 
all of our tilted pots--

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some bigger and 
some a little narrower.

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Adding in the side view of
our undies shape next,

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the key is to make
sure it sticks out

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further forward
than our tilted pot.

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Obviously, with a bigger tilted pot,

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aka a bigger butt,

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you can just let that carry a bit
more weight behind the hips.

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Of course, we're supposed to 
be mentioning the thighs,

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so make sure the thighs feel like

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they're flowing naturally
off the front corner

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of the tilted pot and the
lower back of it as well.

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Getting good at making quick 
little "S" curve movements

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will be essential to making all

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of your anatomy
drawings look better,

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so practice leading
into them quickly

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and getting a smooth curve out.

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I feel like I'm making 
everyone far too caked up,

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so let's chill out a bit,

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and make a couple 
smaller butts for variety.

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Generally, a smaller
butt can have more

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of an obvious dimple
formed by the muscles.

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You can also go full pancake mode,

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and make everything 
much more angular,

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maybe an extra crease 
or two under the butt

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for maximum sag.

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You're really trying to be 
more down-to-earth.

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Before I ever did 
anatomy quick tips,

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I did have a video on 
drawing butts specifically,

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so I'll sum that up best I can.

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We'll go for a baseline
butt on the left,

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an exaggeratedly small hank
hill butt in the middle,

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and full on Pixar 
mom on the right.

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Most of this is just 
giving a different view

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on what I mentioned moments ago:

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small butts having more 
angles, dimples, and creases,

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while a larger butt is just 
more simplified and round.

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Do, however, pay 
attention to the fact

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that the butt mass is
not the widest part,

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and they should 
always feel like they

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are resolving themselves

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long before the hip 
joints on the outer sides.

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You probably won't see the clear
outer edge of the butt, though,

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because the crease under the butt

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tends to taper off relatively fast

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as the gluteus maximus 
connects downward

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and outward toward 
the side of the leg.

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But, I think it can be helpful
to draw in the muscle body

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as the shape that is inside
of that wider hip structure.

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Anyway, the crease under the butt

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does move and change 
a lot with weight;

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it will certainly never
extend all the way

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out towards the sides,

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but it will become a
lot notable and longer

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as weight is shifted onto
that side of the body.

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It will even feel like a 
much flatter line

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that will just follow the
contour of the leg

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as it carries more weight.

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I'll just throw in a silly little chart

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of butt cheek creases over
here on the left side.

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I think that's enough of our 
reductions and simplifications,

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so let's mention some of 
the main types of movement

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you may have to demonstrate
with the hip area.

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The main one, and by far the most

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important one for 
your entire art journey,

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is going to be pelvic tilt.

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Understanding pelvic
tilt is essential

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for making stylized poses 
and dynamic characters.

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Going back to our tilted pot shape,

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the more tilted that pot is,

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99:59:59,999 --> 99:59:59,999
the more pelvic tilt you will have.

254
99:59:59,999 --> 99:59:59,999
And, generally, this is how
you hyper stylize

255
99:59:59,999 --> 99:59:59,999
the more masculine 
or more feminine traits

256
99:59:59,999 --> 99:59:59,999
of any character.

257
99:59:59,999 --> 99:59:59,999
Since I didn't visually 
demonstrate it as clearly earlier,

258
99:59:59,999 --> 99:59:59,999
first, let's make sure that the 
front of our legs and thighs

259
99:59:59,999 --> 99:59:59,999
connects to to the front 
corner of our tilted pot.

260
99:59:59,999 --> 99:59:59,999
Once again, a very controlled
"S" curve is great for this.

261
99:59:59,999 --> 99:59:59,999
Next, we can do an "S" curve 
for the back of the leg,

262
99:59:59,999 --> 99:59:59,999
either shallower or curvier 
depending on our goals.

263
99:59:59,999 --> 99:59:59,999
And, after adding a 
clear line for the butt,

264
99:59:59,999 --> 99:59:59,999
we can also follow our 
imaginary underwear shape

265
99:59:59,999 --> 99:59:59,999
to round out both the waist 
and the lower abdomen.

266
99:59:59,999 --> 99:59:59,999
For the record, we're 
keeping everything all ages,

267
99:59:59,999 --> 99:59:59,999
so there won't be any genitalia,

268
99:59:59,999 --> 99:59:59,999
but it is still important to have
some level of a pubic mound

269
99:59:59,999 --> 99:59:59,999
in both male and female anatomy.

270
99:59:59,999 --> 99:59:59,999
How visible that may be is going

271
99:59:59,999 --> 99:59:59,999
to be affected by pelvic tilt,

272
99:59:59,999 --> 99:59:59,999
so keep that in mind.

273
99:59:59,999 --> 99:59:59,999
Of course, the spinal 
curvature in the lower back

274
99:59:59,999 --> 99:59:59,999
is also greatly affected
by the pelvic tilt

275
99:59:59,999 --> 99:59:59,999
as the spine still needs to flow
into the pelvic tailbone.

276
99:59:59,999 --> 99:59:59,999
So, pelvic tilt plays a big part
in this side view of the body.

277
99:59:59,999 --> 99:59:59,999
But, sometimes, people 
forget how important

278
99:59:59,999 --> 99:59:59,999
it is for the front view as well.

279
99:59:59,999 --> 99:59:59,999
I'm going to try and make 
the same exact hips twice:

280
99:59:59,999 --> 99:59:59,999
one with no pelvic tilt in the pose

281
99:59:59,999 --> 99:59:59,999
and one with extreme pelvic tilt.

282
99:59:59,999 --> 99:59:59,999
As things tilt forward,

283
99:59:59,999 --> 99:59:59,999
the pentagonal 
undies is going to be

284
99:59:59,999 --> 99:59:59,999
much more squished vertically,

285
99:59:59,999 --> 99:59:59,999
which will result in it
feeling much more

286
99:59:59,999 --> 99:59:59,999
widened horizontally by comparison.

287
99:59:59,999 --> 99:59:59,999
Pelvic tilt is, therefore, going 
to give the whole pose

288
99:59:59,999 --> 99:59:59,999
a much more feminine feel

289
99:59:59,999 --> 99:59:59,999
by making the hips look curvier.

290
99:59:59,999 --> 99:59:59,999
The "S" curve on the inner thighs

291
99:59:59,999 --> 99:59:59,999
also gets tucked up 
behind the pelvis,

292
99:59:59,999 --> 99:59:59,999
making any gap between the thighs

293
99:59:59,999 --> 99:59:59,999
feel widest at the top 
instead of lower down.

294
99:59:59,999 --> 99:59:59,999
From the back view, 
it's the exact same effect--

295
99:59:59,999 --> 99:59:59,999
everything will look 
wider and curvier,

296
99:59:59,999 --> 99:59:59,999
resulting in an 
exaggerated feminine look.

297
99:59:59,999 --> 99:59:59,999
With this all in mind,

298
99:59:59,999 --> 99:59:59,999
you should feel much more
capable of exaggerating

299
99:59:59,999 --> 99:59:59,999
the gender expression 
of any character pose.

300
99:59:59,999 --> 99:59:59,999
To move on from this,

301
99:59:59,999 --> 99:59:59,999
we can also explore 
some other types

302
99:59:59,999 --> 99:59:59,999
of movements that involve the legs.

303
99:59:59,999 --> 99:59:59,999
While legs might might move a lot,

304
99:59:59,999 --> 99:59:59,999
the hip structures won't
be doing too much.

305
99:59:59,999 --> 99:59:59,999
And that's great 
because it gives us

306
99:59:59,999 --> 99:59:59,999
a good structure to work off of.

307
99:59:59,999 --> 99:59:59,999
So, even if I lift up a leg,

308
99:59:59,999 --> 99:59:59,999
the tilted pot will
basically stay the same.

309
99:59:59,999 --> 99:59:59,999
And, I can use the front angle of it

310
99:59:59,999 --> 99:59:59,999
to, once again, build a
sharp "S" curve off of.

311
99:59:59,999 --> 99:59:59,999
Same thing for the back side of
the leg connecting to the butt,

312
99:59:59,999 --> 99:59:59,999
but, now, I can have
the mass of the leg

313
99:59:59,999 --> 99:59:59,999
drag that curve downward 
from the butt with gravity,

314
99:59:59,999 --> 99:59:59,999
giving the whole thigh
a greater feeling of mass.

315
99:59:59,999 --> 99:59:59,999
If we saw this from the other side,

316
99:59:59,999 --> 99:59:59,999
it would be fairly similar,

317
99:59:59,999 --> 99:59:59,999
although, I'm a big fan
of using a single line

318
99:59:59,999 --> 99:59:59,999
on the inner thigh to 
imply some insertion point

319
99:59:59,999 --> 99:59:59,999
for the adductor muscles.

320
99:59:59,999 --> 99:59:59,999
Speaking of those adductor muscles,

321
99:59:59,999 --> 99:59:59,999
we can get a much 
clearer look at them

322
99:59:59,999 --> 99:59:59,999
if we put the legs in
a much wider stance.

323
99:59:59,999 --> 99:59:59,999
The curves on both
sides of the thighs

324
99:59:59,999 --> 99:59:59,999
are still based on the same 
connections as the side views,

325
99:59:59,999 --> 99:59:59,999
but a quick tapering 
line for the adductors

326
99:59:59,999 --> 99:59:59,999
makes it very readable.

327
99:59:59,999 --> 99:59:59,999
Any pose we can think of now

328
99:59:59,999 --> 99:59:59,999
will just be a combination 
of all the information

329
99:59:59,999 --> 99:59:59,999
already given in this video.

330
99:59:59,999 --> 99:59:59,999
We can draw from the back 
three-fourths with a leg being raised,

331
99:59:59,999 --> 99:59:59,999
and all the connections
should hold up.

332
99:59:59,999 --> 99:59:59,999
In this case, we also
need to make sure

333
99:59:59,999 --> 99:59:59,999
to implement what we learned

334
99:59:59,999 --> 99:59:59,999
about showing how
weight distribution

335
99:59:59,999 --> 99:59:59,999
affects the crease under the butt.

336
99:59:59,999 --> 99:59:59,999
Even in a more extreme pose

337
99:59:59,999 --> 99:59:59,999
where the leg is 
being lifted behind,

338
99:59:59,999 --> 99:59:59,999
this just requires angling
our tilted pot so far

339
99:59:59,999 --> 99:59:59,999
that it would be spilling its
contents on the ground,

340
99:59:59,999 --> 99:59:59,999
but all of the other 
connections and concepts

341
99:59:59,999 --> 99:59:59,999
are, once again, the same.

342
99:59:59,999 --> 99:59:59,999
I think we're almost ready;

343
99:59:59,999 --> 99:59:59,999
all information has been
distilled and delivered.

344
99:59:59,999 --> 99:59:59,999
Let's just make sure we avoid some
of the most common mistakes.

345
99:59:59,999 --> 99:59:59,999
We definitely don't
want to draw cheeks

346
99:59:59,999 --> 99:59:59,999
that have lines going 
upward on the sides,

347
99:59:59,999 --> 99:59:59,999
as they will appear
saggy and awkward

348
99:59:59,999 --> 99:59:59,999
with our knowledge of 
how the gluteus maximus

349
99:59:59,999 --> 99:59:59,999
resolves itself toward
the outside side of the leg.

350
99:59:59,999 --> 99:59:59,999
We also want to make sure we don't 
forget any important structures,

351
99:59:59,999 --> 99:59:59,999
such as the abdomen
actually having mass

352
99:59:59,999 --> 99:59:59,999
or the hip bones being the highest
connection point for the legs.

353
99:59:59,999 --> 99:59:59,999
Speaking of highest connections,

354
99:59:59,999 --> 99:59:59,999
let's make sure our butts don't slide

355
99:59:59,999 --> 99:59:59,999
they way up to our lower back.

356
99:59:59,999 --> 99:59:59,999
But, really, a lot of these mistakes

357
99:59:59,999 --> 99:59:59,999
usually just come from having
some childish iconography

358
99:59:59,999 --> 99:59:59,999
of round butts stored
in our brains,

359
99:59:59,999 --> 99:59:59,999
so try to let 3D form become
your new iconography.

360
99:59:59,999 --> 99:59:59,999
Alright, now you're set and can
have as much fun as you want

361
99:59:59,999 --> 99:59:59,999
drawing hips from all sorts of 
angles and all sorts of poses.

362
99:59:59,999 --> 99:59:59,999
I've already drawn so many hips
from imagination in this video,

363
99:59:59,999 --> 99:59:59,999
but it hasn't become any less fun,

364
99:59:59,999 --> 99:59:59,999
so let's do one more page of 
various poses and angles.

365
99:59:59,999 --> 99:59:59,999
This part is more for 
fun than education,

366
99:59:59,999 --> 99:59:59,999
so I'm just focused on my
tempo and line energy.

367
99:59:59,999 --> 99:59:59,999
Some of these are 
definitely exploring

368
99:59:59,999 --> 99:59:59,999
the more stylized side of things,

369
99:59:59,999 --> 99:59:59,999
and you probably 
won't see references

370
99:59:59,999 --> 99:59:59,999
quite like these in real life,

371
99:59:59,999 --> 99:59:59,999
but, with enough of our
sprinkles of knowledge,

372
99:59:59,999 --> 99:59:59,999
we can have fun with anatomy

373
99:59:59,999 --> 99:59:59,999
that feels somewhat believable,

374
99:59:59,999 --> 99:59:59,999
but is pretty wild in the 
actual proportions.

375
99:59:59,999 --> 99:59:59,999
i know I tend to stylize 
the legs very widely set,

376
99:59:59,999 --> 99:59:59,999
so these thigh gaps 
are a bit ridiculous,

377
99:59:59,999 --> 99:59:59,999
but it does make it more 
fun to balance the poses

378
99:59:59,999 --> 99:59:59,999
and see more crazy 
silhouette shapes.

379
99:59:59,999 --> 99:59:59,999
Alright, I did fiddle around with

380
99:59:59,999 --> 99:59:59,999
the actual layout and actual 
positioning of this page,

381
99:59:59,999 --> 99:59:59,999
but I think we're ready to paint.

382
99:59:59,999 --> 99:59:59,999
Our normal starting 
point still applies,

383
99:59:59,999 --> 99:59:59,999
so I will be lightening
the line art

384
99:59:59,999 --> 99:59:59,999
into a more orange-ish tone
and setting it to multiply.

385
99:59:59,999 --> 99:59:59,999
The background continues to have 
that iconic chalkboard color,

386
99:59:59,999 --> 99:59:59,999
which will help us pick more 
balanced colors for this skin tones.

387
99:59:59,999 --> 99:59:59,999
Filling in the solid tones
cleanly on a new layer

388
99:59:59,999 --> 99:59:59,999
is a boring step, but saves 
tons of time in the long run

389
99:59:59,999 --> 99:59:59,999
by letting you lock transparency

390
99:59:59,999 --> 99:59:59,999
and never have to worry
about edges until the very end.

391
99:59:59,999 --> 99:59:59,999
By far, the biggest 
decision I had to make

392
99:59:59,999 --> 99:59:59,999
was how to handle 
rendering the pelvic area.

393
99:59:59,999 --> 99:59:59,999
Just having skin tones
alone can make this

394
99:59:59,999 --> 99:59:59,999
feel very lewd very fast.

395
99:59:59,999 --> 99:59:59,999
Just adding black
modesty underwear

396
99:59:59,999 --> 99:59:59,999
can feel very lewd
if it's too skimpy.

397
99:59:59,999 --> 99:59:59,999
So, figuring out the right
balance in this was a bit tricky.

398
99:59:59,999 --> 99:59:59,999
I think what I got should work, though.

399
99:59:59,999 --> 99:59:59,999
Hopefully, it strikes the
right educational balance

400
99:59:59,999 --> 99:59:59,999
and keeps the Demon of
"Itize" from attacking.

401
99:59:59,999 --> 99:59:59,999
The next step is a subtle amount

402
99:59:59,999 --> 99:59:59,999
of airbrush gradiation 
on each skin tone,

403
99:59:59,999 --> 99:59:59,999
lightening areas that seldom 
get exposed to the sun

404
99:59:59,999 --> 99:59:59,999
and potentially adding
more reddish tones

405
99:59:59,999 --> 99:59:59,999
to various other parts.

406
99:59:59,999 --> 99:59:59,999
At this point, things 
will be deviating

407
99:59:59,999 --> 99:59:59,999
from previous paintings a bit.

408
99:59:59,999 --> 99:59:59,999
I decided to go 
with a hyper-smooth

409
99:59:59,999 --> 99:59:59,999
and more cleaner 
rendering style this time.

410
99:59:59,999 --> 99:59:59,999
All of the earliest anatomy 
quick tips were very painterly,

411
99:59:59,999 --> 99:59:59,999
so this offers a bit 
of contrast to that.

412
99:59:59,999 --> 99:59:59,999
The easiest way to go about this

413
99:59:59,999 --> 99:59:59,999
is to rely on our 
lock transparency

414
99:59:59,999 --> 99:59:59,999
and establish a simple
cylindrical shading

415
99:59:59,999 --> 99:59:59,999
on both the torso and each leg.

416
99:59:59,999 --> 99:59:59,999
Heavy airbrushing 
around all of the edges

417
99:59:59,999 --> 99:59:59,999
with a slightly deeper and, 
once again, reddish tone

418
99:59:59,999 --> 99:59:59,999
will make the forms feel 
like they're turning away

419
99:59:59,999 --> 99:59:59,999
from the light source.

420
99:59:59,999 --> 99:59:59,999
Next, you can hit the
tops of these forms

421
99:59:59,999 --> 99:59:59,999
with a bit more highlight.

422
99:59:59,999 --> 99:59:59,999
Usually, I establish this with
just a minimal amount of strokes

423
99:59:59,999 --> 99:59:59,999
with a big hard-edged round brush,

424
99:59:59,999 --> 99:59:59,999
and then a bit more
airbrushing when needed.

425
99:59:59,999 --> 99:59:59,999
Next comes the hard edges,

426
99:59:59,999 --> 99:59:59,999
so if they are any cast shadows,

427
99:59:59,999 --> 99:59:59,999
you can just add those in,

428
99:59:59,999 --> 99:59:59,999
potentially darkening up
the edge of the shadow

429
99:59:59,999 --> 99:59:59,999
to imply some bounced light
hitting inside of the shadow.

430
99:59:59,999 --> 99:59:59,999
All of these additional anatomical
details and plane changes

431
99:59:59,999 --> 99:59:59,999
can be hinted at by
using hard edges

432
99:59:59,999 --> 99:59:59,999
where any of those 
planes run into one another,

433
99:59:59,999 --> 99:59:59,999
and then just softly gradiate
away from that edge.

434
99:59:59,999 --> 99:59:59,999
It's always nicer if your light
source leans a little bit more

435
99:59:59,999 --> 99:59:59,999
a little bit more toward one side 
of the drawing or the other.

436
99:59:59,999 --> 99:59:59,999
Lastly, the underwear does
need a bit of form as well,

437
99:59:59,999 --> 99:59:59,999
but we'll imply that it's slightly less

438
99:59:59,999 --> 99:59:59,999
reflected material than skin

439
99:59:59,999 --> 99:59:59,999
and just shrink the 
contrast range of values

440
99:59:59,999 --> 99:59:59,999
down to be more subtle.

441
99:59:59,999 --> 99:59:59,999
This painting technique
is definitely more suited

442
99:59:59,999 --> 99:59:59,999
toward pinup aesthetics
and stylized anime,

443
99:59:59,999 --> 99:59:59,999
as it gives everything a 
very silky, smooth appearance.

444
99:59:59,999 --> 99:59:59,999
In other styles, I would disregard
the line art much sooner,

445
99:59:59,999 --> 99:59:59,999
but with this technique, 
you can mostly leave it in

446
99:59:59,999 --> 99:59:59,999
and still get a presentable look.

447
99:59:59,999 --> 99:59:59,999
One important thing to remember

448
99:59:59,999 --> 99:59:59,999
is that you will need to be 
adding the edges and details

449
99:59:59,999 --> 99:59:59,999
into areas of heavy gradiation,

450
99:59:59,999 --> 99:59:59,999
which means that you'll need
to selectively pick your colors

451
99:59:59,999 --> 99:59:59,999
for anatomical colors based
on the specific location

452
99:59:59,999 --> 99:59:59,999
you're at in the overall gradiation.

453
99:59:59,999 --> 99:59:59,999
You don't want to use the
same color for form light

454
99:59:59,999 --> 99:59:59,999
in a brighter area as 
you do in a darker area.

455
99:59:59,999 --> 99:59:59,999
Luckily, the large sweeping
form gradiations

456
99:59:59,999 --> 99:59:59,999
that you do at the start

457
99:59:59,999 --> 99:59:59,999
will give you enough of a palette 
to constantly pick from,

458
99:59:59,999 --> 99:59:59,999
so avoid picking 
values that fall outside

459
99:59:59,999 --> 99:59:59,999
of that initially 
established gradiation.

460
99:59:59,999 --> 99:59:59,999
Everything is pretty 
straightforward from here.

461
99:59:59,999 --> 99:59:59,999
Try to notice how often 
I seek to do form details

462
99:59:59,999 --> 99:59:59,999
and as few strokes as possible.

463
99:59:59,999 --> 99:59:59,999
Sometimes, just a single 
softening stroke of the stylus

464
99:59:59,999 --> 99:59:59,999
is all you need to 
define an entire form.

465
99:59:59,999 --> 99:59:59,999
Of course, the darkest skin tone
is probably the most to paint,

466
99:59:59,999 --> 99:59:59,999
as you get to bring in
more focus on the color

467
99:59:59,999 --> 99:59:59,999
of the primary light 
and the bounced light.

468
99:59:59,999 --> 99:59:59,999
It's really too bad that most 
of the world's indoor spaces

469
99:59:59,999 --> 99:59:59,999
are dominated by just 
Eurocentric lighting.

470
99:59:59,999 --> 99:59:59,999
I think we would all
be better painters

471
99:59:59,999 --> 99:59:59,999
if indoor lighting was 
a bit less standardized.

472
99:59:59,999 --> 99:59:59,999
Anyway, as things wind down,

473
99:59:59,999 --> 99:59:59,999
I did decide to paint out 
the line work a bit

474
99:59:59,999 --> 99:59:59,999
so I can be a bit more 
painterly with the strokes.

475
99:59:59,999 --> 99:59:59,999
I do enjoy playing around 
with that overall ratio

476
99:59:59,999 --> 99:59:59,999
of smooth rendering versus
painterly rendering.

477
99:59:59,999 --> 99:59:59,999
If you can do both comfortably,

478
99:59:59,999 --> 99:59:59,999
it opens up a lot of freedom

479
99:59:59,999 --> 99:59:59,999
for deciding the 
mixture you want to use

480
99:59:59,999 --> 99:59:59,999
in any specific painting.

481
99:59:59,999 --> 99:59:59,999
It's just going to be a bit of minor 
touch ups from here on out,

482
99:59:59,999 --> 99:59:59,999
so I'm just going to skip 
ahead to the finished result.

483
99:59:59,999 --> 99:59:59,999
It's pretty good, but I can't resist

484
99:59:59,999 --> 99:59:59,999
having just a bit of fun 
with rim lighting as well,

485
99:59:59,999 --> 99:59:59,999
so I'll pop that on,

486
99:59:59,999 --> 99:59:59,999
and, voila, I'd say we're done.

487
99:59:59,999 --> 99:59:59,999
Another anatomy quick
tips in the archives.

488
99:59:59,999 --> 99:59:59,999
Now, you can always 
get more in depth

489
99:59:59,999 --> 99:59:59,999
with your anatomical details,

490
99:59:59,999 --> 99:59:59,999
but as far as hips go, 
this should all be enough

491
99:59:59,999 --> 99:59:59,999
to get you into
the thrust of things.

492
99:59:59,999 --> 99:59:59,999
So, hopefully, 
you enjoyed this video

493
99:59:59,999 --> 99:59:59,999
and learned something fun.

494
99:59:59,999 --> 99:59:59,999
I do want to thank you all
for watching this video.

495
99:59:59,999 --> 99:59:59,999
The positivity of this community
has always been great.

496
99:59:59,999 --> 99:59:59,999
And, finally, one last big thank 
you to the Patreon supporters

497
99:59:59,999 --> 99:59:59,999
that allow me to do these videos

498
99:59:59,999 --> 99:59:59,999
without having to waste any 
time on boring sponsors or ads.

499
99:59:59,999 --> 99:59:59,999
You guys are wonderful.

500
99:59:59,999 --> 99:59:59,999
Alright, see you, everyone.